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    Movie Review

    Kids film The Legend of Ochi is a miss despite cute character

    Alex Bentley
    Apr 25, 2025 | 11:47 am
    Young Ochi and Helena Zengel in The Legend of Ochi

    Young Ochi and Helena Zengel in The Legend of Ochi.

    Photo courtesy of A24

    Most movies aimed at children tend to be relatively low-brow, with easy-to-understand stories and humor that doesn’t make anyone think too hard. The movie studio A24 is best known for its edgy films, with their only real attempt at making a “kids movie” in their 13-year history being the off-kilter Marcel the Shell with Shoes On in 2022.

    True to form, though, the new The Legend of Ochi is far from your typical kids movie despite its PG rating. Yuri (Helena Zengel) lives on the remote fictional island of Carpathia with her father, Maxim (Willem Dafoe) and her adopted brother, Petro (Finn Wolfhard). The kids have been taught from a young age to fear the creature known as the Ochi, and accompany their dad and other children on nighttime hunts to protect their livestock from the bloodthirsty animals.

    When Yuri comes across a young Ochi stuck in a trap, though, she finds she is able to communicate with it in the Ochis’ chirping language. Finding herself bonded with the creature in an unexpected way, Yuri sets out to return the young animal back to its home, with Maxim, Petro, and others hot on her tail.

    Written and directed by first-time feature filmmaker Isaiah Saxon, the film often comes across like a light version of Wes Anderson. Saxon includes all kinds of quirky elements like Maxim dressing up like a knight during the Ochi hunts, unusual geography on the island, and - randomly - a candy-colored grocery store. Of course, Dafoe himself has appeared in five Anderson films, underscoring Saxon’s inspiration.

    But whereas Anderson generally uses the peculiarities in his films for deeper purposes, Saxon has difficulty finding much meaning in his storytelling. What seems to be at play in the film is a culture of misplaced fear, epitomized by the banishment of Yuri’s mom, Dasha (Emily Watson) after she was bitten by an Ochi. But Saxon can never properly explain why she now lives on her own, or capitalize on any emotions from when she and Yuri are reunited.

    The lack of adequate answers to questions that arise is what plagues the film for most of its running time. Consequently, the film is a non-starter in most ways; there is almost no excitement or suspense to be had as Yuri tries to achieve her quest. Saxon even fails at what should have been the easiest part of the film, making audiences fall in love with the cute-yet-ferocious young Ochi.

    Zengel, whose only previous notable role was in the 2020 Tom Hanks film News of the World, does her level best to make Yuri interesting, but she can’t rise above the film’s other faults. Dafoe knows how to play oddball roles, but this one never makes any sense. Wolfhard and Watson don’t get enough screentime for them to make a big impression either way.

    While A24 can usually be counted on to deliver memorable films that skew outside of the normal output of Hollywood, The Legend of Ochi never finds its footing. If it’s supposed to be a kids movie, it misses the mark by a long shot, with little that could be considered attractive for the younger set.

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    The Legend of Ochi is now playing in theaters.

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    Movie review

    Nick Jonas steals song from Paul Rudd in music-heavy Power Ballad

    Alex Bentley
    Jun 5, 2026 | 1:30 pm
    Nick Jonas and Paul Rudd in Power Ballad
    Photo by David Cleary for Lionsgate
    Nick Jonas and Paul Rudd in Power Ballad.

    Writer/director John Carney is one of the great purveyors of movies featuring music (as opposed to musicals) in the 21st century. Starting with Once in 2007 (which was turned into a Broadway musical several years later), he has made music-themed stories like Begin Again, Sing Street, Flora and Son, and now Power Ballad.

    Rick Power (Paul Rudd) is a former wannabe rock star who is now the lead singer of “Ireland’s #1 Wedding Band,” The Bride & Grooves. While they mostly play smaller weddings, a gig at a country estate leads to an encounter with Danny Wilson (Nick Jonas), a former boy band member struggling to make it as a solo artist. Rick and Danny wind up bonding in a booze- and pot-filled jam session, sharing various song ideas.

    After returning to Los Angeles and desperate for a hit, Danny steals one of Rick’s songs, which miraculously turns into the No. 1 “How to Write a Song (Without You).” Rick, initially overjoyed that something he wrote has become big, is crushed when he finds out Danny didn’t give him credit. His quest to find a way to prove his worth sends him into a spiral, upending the ordinary life he had built.

    Co-written by Peter McDonald, the film is a nice exploration of two men trying to hold on to their music dreams. Their individual circumstances could not be more different, but each of them knows the ups and downs of the business as well as the other, as well as the ineffable magic of creating that one great song. While the music scenes are hit-and-miss because of a reliance on lip synching, the scene featuring Rick and Danny trading ideas is electric with creativity.

    Oddly, though, the film could have used a bit less music and more of a focus on the two men’s personal lives. Rick wound up living in Ireland after falling in love with his future wife, Rachel (Marcella Plunkett), while on tour with his former American band. He spends a decent amount of time with her and his daughter, Aja (Beth Fallon), but his story needed a few more family scenes to drive the point home. Danny’s personal life is all but nonexistent, giving his arc less impact than it could have had.

    Instead of loved ones, Carney and McDonald try to give Rick and Danny more depth through friends and business associates. Rick’s bandmate Sandy (McDonald) is a ride-or-die kind of guy for him, but his presence is only good for a few humorous distractions. Danny’s manager Mac (Jack Reynor) is difficult to parse, as he goes to bat for Danny on multiple occasions, but also seems to keep him at arm’s length.

    It’s long been joked that Rudd never ages, and that youthfulness serves him well in this role, in which his character is supposed to be much younger than his actual age of 57. His energy and enthusiasm make his character appealing throughout, even when Rick starts to go off the deep end. Jonas is decent in his role, selling the music side well, but there might be a reason his character doesn’t have many scenes requiring him to show emotions.

    While Power Ballad has all the hallmarks of another great Carney music movie, it’s missing a few pieces that could have put it over the top. It’s still a fun film with an insanely catchy song at its center, but it’s not quite as memorable as most of the filmmaker’s previous efforts.

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    Power Ballad is now playing in theaters.

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